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Brüllman, Claire Bonney. "Thérèse Bonney : the architectural photographs /". Online version, 1995. http://bibpurl.oclc.org/web/33468.
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Pennell, Miranda. "Film as an archive for colonial photographs : activating the past in the present". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9ww05/film-as-an-archive-for-colonial-photographs-activating-the-past-in-the-present.
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This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.
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Bontemps, Laura. "Une histoire de conservation moderne : la chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa à Karnak (Égypte). Nouvelle lecture des photographies d'archives comparées à la photogrammétrie de l'état actuel". Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1350.
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La conservation-restauration existe depuis l'Antiquité mais ne s'est vue attribué l'étiquette de discipline à part entière, dotée d'une déontologie et d'un cadre éthique, que depuis la seconde moitié du XXème siècle. Cette formalisation tardive a eu pour conséquence l'hétérogénéité flagrante des traitements de restauration effectués, mais aussi de la création de lacunes dans la documentation de l'histoire matérielle moderne du patrimoine concerné. Pourtant, si les archives écrites ne nous racontent parfois qu'une partie des travaux, les photographies d'archives peuvent, elles aussi, nous parler.Ce travail de thèse explore les utilisations possibles des photographies d'archives du complexe archéologique des temples de Karnak (Égypte) et plus spécifiquement celles de deux monuments : la Chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa. La recherche se concentre autour de la réécriture de l'histoire des restaurations de ces deux édifices en s'appuyant sur l'utilisation des archives photographiques. Nous avons cherché à savoir si l'exploitation et la modification de ces photographies dans des outils numériques (photogrammétrie à partir d'archives, orthomosaïque, panorama) pouvaient apporter de nouvelles informations, afin d'offrir une vision plus précise de l'évolution des anciennes restaurations et de l'état d'altération des deux monuments. La méthodologie adoptée se fonde sur le corpus des archives photographiques comme point de départ de la recherche.L'évolution de la documentation numérique joue un rôle fondamental dans cette thèse. Les outils numériques employés permettent d'accéder à des informations plus précises sur l'histoire des deux monuments au cours du XXème siècle. À des fins de comparaison, une campagne de relevés en photogrammétrie du Kiosque de Taharqa et de la Chapelle Blanche de Sésostris Ier a été faite durant la thèse. La photogrammétrie des deux monuments constitue la base sur laquelle s'appuie les comparaisons aux états antérieurs à partir de relevés de constats d'état. Ainsi, les données et visuels obtenus à partir des photographies d'archives deviennent le support de constat d'état historicisé, des temps « -1 » , « -2 » (et « -3 ») dont la comparaison à l'état actuel permet d'analyser l'évolution des altérations et de recomposer une histoire des pratiques de la restauration à Karnak.La (re)lecture de cette histoire moderne ouvre des questionnements sur les modifications des pratiques de la conservation-restauration, des méthodes employées et sur les usages possibles des données produites dans un contexte de travail pluridisciplinaire. Cette thèse vise à proposer une méthodologie à la croisée de l'histoire, de l'archéologie et de la conservation et à amener une nouvelle grille de lecture des opérations de conservation-restauration sur la Chapelle Blanche de Sésostris Ier et le Kiosque de Taharqa à KarnakConservation-restoration practice has existed since the early Antiquity but has been recognized as a fully legitimate discipline, with its own code of ethics and deontology, in the second half of the 20th century. This quite late professional formalization has resulted in a blatant heterogeneity in restorations treatments on Cultural Heritage sites and objects, as well as the creation of gaps in the documentation of their modern material history. While written archives may only transmit chosen part of the story, archival photographs may also speak to us and provide new information.This PhD explores potential uses of archival photographs from the Karnak Temple complex in Egypt, focusing on two specific monuments: the White Chapel of Sesostris I and the Kiosk of Taharqa. The research evolves around rewriting the restoration history of these two monuments by the means of archives photographs used in digital tools. One of the aims was to determine whether the manipulation of these photographs in digital tools such as photogrammetry from archives, orthomosaic imagery and panorama editing could provide us with new data to offer a more precise view of the evolution of past restorations and the state of decay of the monuments. The challenges here are the heterogenous quality of archives photographs, the lack of information about calibration parameters and poor overlap.Developing digital documentation plays a fundamental role in this research. The digital tools employed aims to provide more accurate information on the history of the two monuments throughout the 20th century and offer a plausible chronology of interventions. For comparative purposes, a complete photogrammetry survey of the Kiosk of Taharqa and the White Chapel of Sesostris I has been carried out. The photogrammetry of both monuments is used to export orthomosaics which serve as the basis for comparisons with earlier states to generate conditions reports. The data and visuals derived from the archival photographs and photogrammetry serve as the foundation for historicized condition reports. These historicized surveys represent earlier moments “-1” (and “-2”, “-3”) whose comparison with the current state (the moment “0”) enables an analysis of the evolution of deterioration and the reconstruction of a history of restoration practices at Karnak.This (re)interpretation of modern conservation history raises questions about the changes in conservation-restoration practices, the methods used and the potential uses of digital data produced in a multidisciplinary context. The research aims to propose a methodology at the crossroads of history, archaeology and conservation, offering a new framework in a digital environment to fill the gaps of the modern history of the White Chapel of Sesostris I and the Kiosk of Taharqa at Karnak
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Stalmach, Adele Carleton University Dissertation Art History. ""Native women and work; changing representations in photographs from the collections of the National Film Board and of the Department of Indian Affairs and Northern Development."". Ottawa, 1995.
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Han, Jane. "Passing through time : the intersection of painting and cinema in the works of Julian Schnabel". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:82ffb3f5-02da-4f37-8315-5ba74c33b139.
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This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.
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Valcke, Jennifer. "Static films and moving pictures : montage in avant-garde photography and film". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4061.
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Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avantgarde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avantgarde artists to break free from traditional concepts of artistic production – they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as “motionless moving pictures”). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology – where the technique and philosophy of montage was key.
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Sanders, Jennifer A. "An evaluation of photo CD's resolving power in scanning various-speed films for archival purposes /". Online version of thesis, 1996. http://hdl.handle.net/1850/11988.
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Valcke, Jennifer [Verfasser]. "Static Films and Moving Pictures : Montage in Avant-Garde Photography and Film / Jennifer Valcke". München : GRIN Verlag, 2011. http://d-nb.info/1182328474/34.
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McDonald, Mary Catherine. "National Museum of Film and Photography". Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/33106.
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Between the National Gallery of Art and the National Museum of Natural History in Washington, D.C., the National Museum of Film and Photography design thesis explores issues of architecture at a scale of cultural significance. This thesis is the architectural manifestation of a museum as a research institution, separate from, yet contributing to an educational mission. It is inspired by the thin line between the two worlds, the public museum and the unseen, though often larger, private archive. In this thesis, a home for a treasury of artifacts was designed, so that they might be experienced, and for their intrinsic value.
This design thesis explores the role of context, scale, and geometry in a building for the National Mall, as well as the critical requirements and specialized program of a museum. The orthogonal and radial geometry of the city are echoed in the plan. The building program, as well as the physical opportunities of the site, led to the form of the building. The simultaneous cycles of the artifact, the visitor, and the worker, and how they related to the role and amount of natural light also contributed to the form. The thesis is also developed based on the relationship between an object or a film, and a viewer.Master of Architecture
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Wallace, Miranda Jane. "Photography and film after minimalism, 1967-1976". Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404730.
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McCrea, Ronan. "Celluloid materiality : experimental film, photography and contemporary art". Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535137.
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Oviedo, David A. "National Museum of Film and Photography, Washington, D.C". Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31269.
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The origins of this project lie in a desire to understand the relationship that exists between light and architecture.
Natural light has always played a role in the evolution of architecture, helping us make countless decisions about the things we build.
From their siting to their plan, to the nature of their openings, our buildings have to a great extent been shaped by the sun and the moon.
The project became a search for new ways for architecture to express the concious relationship that needs to exist among light, material, structure, and space....Master of Architecture
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Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Vallance, Andrew. "Memories made in seeing : memory in film and film as memory". Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2848/.
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Memories Made in Seeing considers the relationship between memory and film through examining what is its cultural and experiential effect, how it can show and write memory and History. Four post-war films - Muriel, or the Time of a Return (Resnais, 1963), (nostalgia) (Frampton, 1971), Level Five (Marker, 1996) and Memento (Nolan, 2000) – that are complex manifestations of thought in practice, which trace and examine film’s ability to distinctly embody and produce memory, and are part of a dialogue in form and time. To contextualise and consider memory’s effect, it is charted from the advent of film (the nineteenth century’s ‘memory crisis’, the founding and understanding of modern memory, the related ideas of Proust, Bergson and Freud), through the twentieth century (the development of a more subjective reckoning, the seeming impossibility of memory (and understanding) that followed World War II’s trauma), till its millennial disposition (multi-various considerations, the inception of prosthetic memory, the seeming need for nostalgia). The case studies’ varied forms and alignments consider the tension between the demands of narrative resolution and the mutable and open-ended nature of memory, and how different film practices seek to utilize and appraise its perceived function, relevance and production. These films are also a record of viewing experiences, which influence one another and create a narrative of personal engagement that forms and substantiates recollection. To examine this conceptual process further I contend the tension between narrative (something fixed by duration and intention) and memory’s imperatives (formal and personal) form an axis of experimentation and exploration and this correspondence is central to comprehending the ways in which films represent and invoke forms of subjective and cultural recollection. I propose that film’s unique and associative account of memory’s evolving resonances becomes a series of palimpsests, which emphasize that the experience of film is an act of re-writing and recollection and misrecollection. This context tethers the subject, is the point of initiation, and explores how memories, which are made when seen, are mutable, historical and present, essential.
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Clayton, Owen Thomas. "Changing the lens : writing, early photographies, film, 1849-1915". Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.634751.
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My thesis examines the ways in which British and US American writers used early photography and film as metaphors and as modes of literary organisation. It focuses on four figures in particular: Henry Mayhew, Robert Louis Stevenson, William Dean Howells, and Jack London. Each of them deals in some way with the transition between photographic methodologies, a subject of my particular attention. I argue that writing during the period of early photography [approx 1839-1915] can better be understood by considering the broad variety of simultaneously-existing visual recording technologies, which I call 'photographies'. While many scholars have tended to view early photography through the 'lens' of twentieth-century critical theory, the writers under examination, I suggest, were highly aware of multiple modes of technology. Indeed their work should be seen · as a site in which contestations between those different technological possibilities were staged. The thesis lays out a model for the critical examination of writing in relation to early photographic difference, remediation and transition in particular. I claim that apparently non-photographic media such as engraving ought to be considered within such examinations. My argument takes place within a wider shift in the arts and humanities toward viewing nineteenth-century visual technologies as more than simply 'pre-cinema'.
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Skopeteas, Ioannis. "Photographic practice and aesthetics in the film image : the case of the Greek feature films in the mid 1990s". Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434289.
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McGonagle, Joseph M. "Representations of ethnicity in French film and photography since the 1980s". Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557128.
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Via an interdisciplinary framework that draws upon post-structural, post-colonial and feminist theories, this thesis considers representations of ethnicity in French film and photography since the 1980s. Very few studies of the representation of ethnicity in French photography have been undertaken and French film and photography are seldom analysed together. The corpus of images discussed is diverse. Each chapter contrasts examples of photographic practice with film within France. Chapter One considers how national identity has been pictured within France. Chapter Two analyses the representation of an important regional centre: France's second city, Marseilles. Chapter Three examines the parameters of Jewishness within French film and photography. Chapter Four explores how women of Algerian origin have been portrayed since 2000. Recurrent themes are found regardless of the genre, medium or ethnicity in question. Important differences are highlighted between representations of France's white majority and ethnic minorities, and within these groups according to gender, sexuality, age and social class. I conclude that ethnicity has remained a crucial and contentious subject within French film and photography throughout the last twenty-five years and that further such studies are now needed.
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Cieplak, Piotr Artur. "The Rwandan genocide and its aftermath in photography and documentary film". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609170.
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Stephens, Stanton. "Charles and Ray Eames : furniture, architecture, interior design, film and photography". Thesis, De Montfort University, 1991. http://hdl.handle.net/2086/4252.
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Smith, Ian Richard. "Optimising international links between departments of photography, film and video production". Thesis, University of Southampton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259958.
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Powell, Amy L. "Erica and I: A Photographic Battle with Perception". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285059415.
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Gray, Gordon T. "Malaysian cinema and negotiations with modernity : film and anthropology". Thesis, Edinburgh Napier University, 2002. http://researchrepository.napier.ac.uk/Output/4485.
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This thesis examines Malaysian cinema in the context of the various processes and discourses of modernity. Analysing the processes of modernity which Malaysians are engaged with provides a crucial theme by which to demonstrate how various socio-political ideologies, institutions, and mechanisms may be promoted, rejected, or otherwise negotiated. This negotiation takes place in both Malaysian society and the cinematic representations of that society. Therefore, two discrete disciplines have been incorporated, those of anthropology and film studies. In the course of the thesis, discourses of modernity, encompassing processes and institutions, are addressed in terms of existing ethnographic literature, my own ethnographic research, and in the analyses of contemporary films. The introduction of an ethnographic background for the society in which the films are produced opens new vistas for film analysis. However, while the injection of anthropology into a film study has been a major concern, the importance of the reverse is also argued. Further, this thesis provides a multiple rendering of analyses, arguing that, as a symbolic media and/or art form, cinema is inherently open to alternative readings, 'mis'-readings, and rereadings. One of the goals of thesis is, through a different synergy between film and anthropology, to provide some alternative answers to the ever-present question haunting the Malaysian cinema industry, namely "Why aren't our films successful?"
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Saif, Anna Christina. "Discourses of dispossession : Palestine and the Palestinians in early photography and film". Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435066.
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MOTA, SERGIO LUIZ RIBEIRO. "WHAT LEADS SIGHT TO BLINDNESS: LITERATURE, FILM, PHOTOGRAPHY AND OTHER VISUAL MEDIA". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4832@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm O que destina o olhar à cegueira, discutem-se algumas representações do olhar cego como condição contemporânea, em textos ficcionais e teóricos, filmes e outras mediações imagéticas. Um dos objetivos do estudo é procurar respostas para as perguntas: de que maneira falar de cegueira diante da predominância de uma civilização da imagem? Ou estar diante de um olhar que se deforma ao perceber um mundo onde as imagens são cada vez mais numerosas, porém mais diversificadas e mais intercambiáveis? Na investigação de diversos textos, percebem-se as implicações do olhar deformado na experiência acelerada das imagens contemporâneas. É esta reflexão crucial que ecoa ao longo do texto, na revisão de algumas perspectivas possíveis para pensar o problema da cegueira como ganho, como outro ponto de vista, como nova possibilidade de visão, como antídoto para o acúmulo sem limite do excesso. E ainda: tendo o cuidado de não repetir os clichês do gênero que descobrem a espantosa capacidade de os cegos exercitarem sua percepção diante do mundo que se lhes apresenta como retrato de uma negação: a negação do visual.
In What leads the look to blindness we find discussions about some representations of the blind look as a contemporary condition in fictional and theoretical texts, films and other images mediations. One of the essays goals is to look for answers to the following questions: how to talk about blindness in a civilization where the image is predominant? Or how to confront ourselves with a world vision that is ever transforming while facing images that are always increasing, though more diversified and interchangeable? .In the process of reviewing several texts on the subject we find the implications of the transformed vision in the accelerated experience of contemporary images. This is the crucial reflection that echoes in the text, in the review of some possible perspectives to think the blindness issue as a gain, as another point of view, as a new possibility of seeing, as an antidote to the unlimited excess. Yet more: taking care of not repeating the gender clichés when unfold the amazing ability the blind have when exercising their perception before the world that presents itself as a denial portrait: the visual denial.
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Heinrich, Claudia. "A museum for film and photography and its place in the city". Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/53398.
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Even though downtown areas are located in the heart of the city, they are often lifeless and empty. They have been developed into office areas with no life in the evenings. Closed. blank walls on ground floor and the possibility to drive right into the building with a car deserted the streets.
Right now efforts are made to revitalize these areas. With my project I develop buildings for one block in Downtown Washington DC. I will address the following issues:
How can a museum, film theaters, and a building with art-related functions and housing be combined on one site?
Is it possible to create a pedestrian-friendly environment on ground level even though the previous mentioned functions do not need openings or the connection to the outside?
How can inside and outside work together without disturbing each other?
Can daylight be used in the museum and the film theaters although it is not needed for the functions themselves?
I will try to set an example for a different approach of building in Downtown.Master of Architecture
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Naldi, Patrizia. "The 'view' : a historicised and contemporary socio-political mediation". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8727/.
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This research develops an understanding of the ‘view’ as a historicised and contemporary socio‐political mediation. What is posited as a view, and its signification, as a view, is how we experience, understand and relate to others and the world around us. The thesis offers a re‐interpretation of accepted modes of viewing, what is viewed, and a re‐presentation of viewed imagery, in order to question and propose how might we better relate to, and function in, the production of social space. The premise of the enquiry is that the ‘view’, is a visual, spatial, and conceptual ideologically political position that shapes our relationship as citizens societally and to public space. The ‘image’ of, and as, a view, and point of view, permeates society. In our contemporary times of socio‐political instability, it becomes prescient to question the ‘view’, how it is constructed, and how it operates. The approach of this enquiry is interdisciplinary using a dialectic process of theoretical and practical sources. It draws on theories of space exploration, film studies, religion, photography, popular culture, geography, politics, contemporary visual culture, historical painting, architecture, and urban regeneration. The practice of lens‐based moving and still image, and the contexts within which the works have been created as research, are temporal and spatial. Journeys have been undertaken to acquire ‘views’ by hot-air balloon, by cable car, up tall buildings, by train, and by foot as a key method of investigation. The rhythm of the text in the thesis reflects this method of temporality, and spatiality. With the practice interlinked throughout, and with the text, in the guise of image inserts, the structure of each of the three chapters enacts a positionality from the perspective of a visual, spatial, and conceptual vantage point as a means of guiding the reader/viewer through the research.
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Sutton, Damian Peter. "The crystal image : a theoretical approach to image perception across film and photography". Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394734.
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Masters, Chase M. "An Analysis of the Shift from Black and White to Color Photography in Higher Education Introductory Photography Courses". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225313825.
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Allum, Stefanie. "The new Catalan cinema : regional/national film production in a globalised context". Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36248/.
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The thesis explores the post-millennial boom in the production of Catalan films. Previous critical work on Catalan cinema has tended to focus primarily on documentary and realist forms. The research presented here maintains an interest in documentary as a key mode but it also examines historical and fantasy-based feature film production as important aspects of what has been termed the ‘New Catalan Cinema.’ It places a series of Catalan films in the contexts of their production and reception, paying particular attention to developments in audio-visual industries and cultural policy that have taken place since 2000. Through this, the thesis demonstrates that the New Catalan Cinema challenges pre-existing critical conceptualisations of both national and regional film cultures. The main question addressed by the thesis is ‘In what ways has Catalan cinema consolidated a new identity in the 2000s?’. This has involved historical consideration of pre-2000 Catalan film culture. More explicitly, the thesis examines the main institutions that have supported the development of Catalan cinema since 2000, including educational (Universitat Pompeu Fabra, Escola Superior de Cinema i Audiovisuals de Catalunya) audiovisual (MEDIA, Acadèmia del Cinema Català, Barcelona/Catalunya Film Commission), governmental (Departament de Cultura, Institució Català d’Empreses Culturals) and cultural (Institut Ramon Llull). Additionally, it presents case study analyses of documentary, historical drama and horror as important areas within which regional, national and global crossovers and tensions are negotiated.
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Snider, Leah. "To Fill the Void With Color". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/767.
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To Fill the Void With Color is a conceptual photographic installation of a parent raising an autistic child in the early 1990s. Despite major scientific advances in autism of the time, there still remains a sociological void in parent's experiences. Although one work cannot speak for an entire two decades of personal experience, one work can start to fill the void with words, with color, and with love.
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Mack, Jonathan. "(Indie)mediality : intermediality in contemporary American independent film". Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/31604/.
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Intermediality has become an umbrella term for a heterogeneous group of concepts as diverse as the creation of an entirely new medium and the mere quotation of a work from one medium in another. Intermedial analyses of specific film texts have appeared sporadically but have shed remarkable light on the influence of other media on film narrative, structure and visual style. This PhD takes intermediality to be, as Irina Rajewsky describes it, instances in which film ‘thematises, evokes or imitates elements or structures of another, conventionally distinct medium through the use of its own media-specific means.’ Using this definition as a starting point, this project applies the concept of intermediality to films that deal specifically with arts and media within their narratives, or that are adaptations from another medium, across the American independent cinema landscape since 1990. In this way, a typology of media interaction and intermediality within film texts is developed in relation to their relative position in the American ‘indie’ tradition. Although the thesis uses a primarily industrial definition of ‘independence’, this work also applies a number of criteria constituting a particular ‘indie’ aesthetic to these films, as outlined by experts in the field like Geoff King and Michael Z Newman. This enables additional links to be identified in regard to whether intermediality is utilised differently in particularly ‘alternative’ or more ‘mainstream’ film content. This methodology has demonstrated that intermediality plays a significant role in many American ‘indie’ films strategies of differentiation from the mainstream. Additionally, correlations have been discovered such as particular distributors’ preference for contacting specific types of media, as well their willingness (or otherwise) to engage in such potentially alienating and experimental content as intermediality and metareference.
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Williams, Sarah. "Depth of field : aspects of photography and film in the selected work of Michael Ondaatje". Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2401/.
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This thesis examines aspects of photography and film in the selected work of Michael Ondaatje, specifically analysing their implementation and function within The Collected Works of Billy the Kid, Running In The Family, In the Skin of a Lion and The English Patient. Ondaatje's two films, Sons of Captain Poetry and The Clinton Special, as well as Anthony Minghella's film adaptation of The English Patient, are also examined. My critical approach is eclectic and driven by the demands of individual texts, focusing on some of the ways in which photography and film affect and help define the formal and thematic components of the prose works. My approach addresses photographic perspective and reader response with specific reference to the ontological nature of photographic stillness, as well as various components of filmic writing and the challenges of prose to screen transfer in cinematic adaptation. This study reveals how an exploration of the photographic and filmic aspects of the texts provides new insights into the way Ondaatje's work promotes indeterminacy of meaning and a blurring of the boundaries between genres.
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Ashmore, Rupert Charles. "Landscape and crisis in northern England : the representation of communal trauma in film and photography". Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/4382/.
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Communal trauma is a culturally constructed ascription. Social agents propose that disastrous events have had traumatic effects upon the communities affected. If this proposition is convincing, then these events become acknowledged as communal traumas, and those affected as traumatised. This thesis examines how two crises in northern England: the Foot and Mouth Disease (F.M.D.) epidemic in Cumbria in 2001, and the demise of the mining industry in County Durham from the late 1970s onwards, have been constructed as communal traumas. While the F.M.D. epidemic in Cumbria has been explicitly studied, and therefore constructed as traumatic in sociological studies, the crisis was also broadcast through landscape imagery in press and documentary photography. This thesis examines such imagery in the work of photographers Nick May, John Darwell and Ian Geering, and in the printed and television media, and assesses how it has also contributed to the idea of F.M.D. as a communal trauma. This is one of the original contributions of this thesis. Another is the examination of the disappearance of the mining industry in County Durham since the rationalisation of the late 1970s, as communal trauma. This demise also had devastating economic, social and cultural effects for the communities involved, but has seldom been construed as communally traumatic. However, the film and photography of Newcastle’s Amber art collective creates a narrative that suggests precisely this, and fundamental to that narrative is landscape imagery. Their collaboration with the communities experiencing the effects of this demise, and the exhibition of their films and photography back to that community has created a vision of traumatic social change that is both corroborated and constructed by those most affected. With a detailed examination of the imagery of these two specific crises in Northern England, this thesis examines how landscape has contributed to the cultural construction of trauma.
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Söderholm, Matillda. "Intermédialité photographie/texte dans Rimbaud le fils de Pierre Michon". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-41455.
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The novel Rimbaud le fils written by Pierre Michon is analysed in this study, using the theoretical model of modalities and modes of media elaborated by Lars Elleström (2010), the typology of intermediality defined by Werner Wolf (2002) and Irina Rajewsky’s (2010) metatheoretical reflections upon the concept of borders. The novel by Michon relates to some famous photos that have become important in creating the understandings of Arthur Rimbaud as a poet and a myth. The guiding question of the analysis has been: How can the intermedial relations to the photos create meaning in the novel? The theoretical model of Elleström has been applied in order to define the modalities and modes involved in the photography and in the written text of the novel. Thereby the significant differences and similarities between the different media have become distinguishable. The categorization proposed by Wolf and the remarks made by Rajewsky on the concepts of borders, have helped to link together the observations of modalities and modes with the hermeneutic reading of the text. Using the intermedial references has shown to be a possible way to express or to reinforce the literary expression of for instance: the heaviness of the literary legacy and mythology, the absent, the genius, the departure, the silence, the religious language, the unknown, the literary sham, the survival and the protective power of an expressive richness that relates to or implies several semiotic systems.
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Weiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.
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This paper explores how photographs have affected mourning processes in the past and how photo-technology may be able to change the way in which we mourn in the future. It includes an overview of the history of post-mortem photography and discusses the perspectives of well-known media theorists such as Roland Barthes and Susan Sontag. It engages with psychologists by including their perspectives on the effect that photographs have on the mourning process. A project was created to investigate how photo-technology can affect the bereaved. The project places photographs of a mother into pictures of her children taken after she had passed away. These photographs were later shown to her sons in order to explore how this impacts their memories and mourning processes.
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Wilke, Tobias. "Medien der Unmittelbarkeit Dingkonzepte und Wahrnehmungstechniken 1918 - 1939". Paderborn München Fink, 2008. http://d-nb.info/100097846X/04.
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Yuan, Xijia. "Understanding the Effects of Disgust and Political Ideology on Moral Judgment Through Photography". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/966.
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Feelings of disgust may have effects on one’s moral judgment; specifically that experience of disgust has linked to increased severity of moral judgments. Additionally, one’s political beliefs may also affect one’s moral judgment, such as conservatives tend to make harsher judgment toward moral situations and behaviors. A 2 x 2 x 2 factorial quasi-experiment has been proposed to study 420 participants, legal adults from both conservative and liberal neighborhoods, randomly assigned to one of two conditions, disgust-eliciting versus neutral. Participants will view either four disgust-eliciting photographs or four neutral photographs, and then complete survey questions on disgust rating, moral judgment, disgust sensitivity, and political self-identification. It is hypothesized that, participants who identify as liberals, will feel less disgusted by the photos than conservative participants, and have more lenient moral judgment, whereas participants who identify as conservatives, will feel more disgusted by the photos than liberals, and have much harsher moral judgment.
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Jacobs, Abageal. "Everyday Decay". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/598.
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The medium format photographs created in conjunction with my senior thesis exhibit, Everyday Decay, use texture, line, intimate framing, warm color palettes, and layering to explore an aspect of the everyday landscape that we interact with often but generally ignore. The choice of medium and subject of decay creates a sense of the past, aided by the warm tones that imply affinity and nostalgia.
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Peruch, Julie. "La fabrication de la photographie de film dans le cinéma français : dispositif et environnement visuel, technique et organisationnel". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0103.
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Le cinéma français forme une institution transnationale dans laquelle ses promoteurs adoptent des valeurs sociologiques libérales et cherchent à les promouvoir dans les contenus visuels. Par quels mécanismes la valeur marchande des images des longs-métrages de fiction est-elle réactualisée et réinvestie dans les espaces de sa fabrication ? Comment la valeur marchande anticipée des photographies de longs-métrages de fiction français s’inscrit-elle dans le processus de fabrication ? Avec quels paradigmes les professionnels de l’image regardent-ils les photographies de films qu’ils fabriquent ? A partir d’une enquête de terrain de plusieurs mois dans des espaces de fabrication de la photographie de longs-métrages de fiction français et une trentaine d’entretiens auprès de différents professionnels du secteur, cette thèse vise à montrer que dans le processus de fabrication, la valeur anticipée du produit est un paradigme de la perception visuelle qui organise le visible de l’image et façonne les rapports de production. Les techniciens image sont une catégorie de professionnels qui agissent en tant que groupe affinitaire, qui mobilisent des systèmes socio-techniques inscrits dans un marché du matériel image, et qui utilisent un regard professionnel, marqué par la projection dans une valeur marchande de l’image, et également un regard situé en fonction de leur position dans les rapports de production. Le regard des professionnels de l’image, insérés dans des rapports de production, assurent une existence et une intelligibilité à la photographie par mobilisation de sa valeur marchande anticipée dans le processus de fabrication lui-mêmeFrench cinema is a transnational institution whose promoters embrace liberal values and seek to promote them through visual content. What are the mechanisms by which the market value of feature-film images is updated and reinvested in the spaces where they are made ? How does the anticipated market value of photographs of French feature-length fiction films influence the production process ? With what paradigms do image professionals look at the photographs of the films they make ? Based on a field work lasting several months in photography production facilities for French feature-length fiction films, and through thirty interviews with various professionals in the sector, this thesis aims to show that in the context of the the production process, the anticipated value of the product is a paradigm of visual perception that organizes the visibility of the image and shapes the relationships which produce it. Image technicians are a category of professionals who act as an affinity group, who mobilize socio-technical systems inscribed in a market logic for image material, and who deploy a professional gaze, characterised by projection into the domain of market value, as welle as a gaze situated according to their position in production relations. The gaze of image professionals, embedded in production relationships, ensure the existence and intelligibility of photography by mobilizing its anticipated market value in the production process it self
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DuBois, Dawn Tower. "A comparison of the photomechanical reproduction quality from color negative films versus color transparency films /". Online version of thesis, 1993. http://hdl.handle.net/1850/12153.
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Richardson, Emily. "Articulating space : the translation of modern architectural space into filmic space through artists' film and moving image practice". Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3844/.
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Using a practice-based method, the outcome of this research is a trilogy of films looking at three post-war modern prototype houses built by British architects. The examples chosen are: H.T. 'Jim' and Betty Cadbury-Brown's 3 Church Walk; Aldeburgh, Suffolk (1962); John Penn's Beach House, Shingle Street, Suffolk (1969) and Richard and Su Rogers' Spender House and Studio, near Maldon, Essex (1968). With each of the films a house is reconstructed on film, reactivating the architectural space as filmic space. The films explore the interaction between architectural space and its filmic translation using artists' film and moving image practice as a method to examine how the relationship between moving image and sound can activate architectural space to create a sensory experience on film, and to determine how the physical traces remaining contribute to new possible readings of the architectural examples considered. The combined research project and the films examine two architectures that are inhabited simultaneously: physical architectural space and filmic architectural space. Techniques and conventions of both documentary and artists' film and moving image practices such as critical and reflexive filmmaking, direct observation, archive research materials, sound composition from location recording and archive sound are used to rework space in filmic terms. Taking an individually tailored approach to each of the soundtracks of the films highlights the role of sound in activating architectural space on film. Following the premise of the house as a phenomenological concept set out by Gaston Bachelard and examining Giuliana Bruno's notion of the film viewer as voyageur as opposed to voyeur, the shift from optic to haptic is explored through my practice to examine how an architectural space can be translated to film in a way that goes beyond functional description into the realm of the poetic, narrative and the event. Several case studies of artists' films by Heinz Emigholz, Elizabeth Price, Man Ray and John Smith that take the modern house as subject are analysed to demonstrate a range of approaches to articulating space on film. How each one allows for a particular reading or understanding that operates outside of the official historical narratives of modern architecture is discussed. In the context of wider research into the interrelationships between film and architecture and the role moving image and sound play in interpretations of architectural space, this project shows how this practice-based method arrives at a contribution to knowledge of the particular buildings chosen, and how this method contributes to current readings of the modern house in film. New knowledge is generated on each of the case study buildings as evidenced through the films, which are an artistic response to each of the houses and through the writing, which gives a historical, theoretical and formal context to the works produced. In capturing these houses lost to architectural history, reactivating the spaces through moving image and sound the films, both individually and as a trilogy are a contribution to knowledge. Each acts as a record of a significant example of 1960s design at a moment in its history, adding to the archive of each and providing material for further research in the area.
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Yale, Nathaniel W. "Images for a Nation: The Role of Conservation Photography in American Environmentalism". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pomona_theses/106.
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Photographs have long been integral in revealing American values, ideals, and identity. Accordingly, a study of environmental, or "conservation," imagery offers insight into America’s relationship with the natural world. In an examination of key figures and their conservation photography work, this thesis explores how the national conservation dialogue has been shaped by powerful images that, in some cases, even led to crucial acts of federal conservation. The first section highlights four photographers and their context and influence in this dialogue: W.H. Jackson’s photographs from Hayden’s 1871 survey of Yellowstone, Carleton Watkins’ work at Yosemite and Mariposa Grove in the 1860s, and the twentieth-century Sierra Club work of Ansel Adams and Eliot Porter. The second section illustrates the imagery and impact of contemporary photographers Mark Klett, David Maisel, and Subhankar Banerjee, each with his own distinctive focus and contribution to conservation rhetoric. Understanding the progression of American environmental imagery and how it has led to contemporary conservation photography informs us about how best to affect change in the current era of ever-increasing environmental degradation.
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Fine, Jenny. "Performing Tenderness". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.
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McDaniel, Kyle. "Aesthetics of Historiophoty: The Uses and Affects of Visual Effects for Photography in the Historical Documentary Film". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20729.
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This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. The findings from the analyses suggest that visual effects for still image forms and the repetition of these applications and strategies are significant to the content depicted in images, the scope of the visual presentation, and the capacity for audiences to connect to historical information in the film.
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Wilke, Tobias. "Medien der Unmittelbarkeit : Dingkonzepte und Wahrnehmungstechniken 1918 1939 /". Paderborn ; München : Fink, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017982056&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Singh, Deirdre Mary. "Electroanalysis of chloride, bromide and silver ions". Thesis, University of Newcastle Upon Tyne, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363540.
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Wang, Yang. "Digital film dosimetry in radiotherapy and the development of analytical applications software". Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060223.150107/index.html.
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Ramirez, Gracia. "'In the best interests of the country' : the American Film Institute and philanthropic support for American experimental and independent cinema in the 1960s". Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/6266.
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In the mid-1960s and early 1970s, experimental and independent cinema received a considerable amount of support from the U.S. federal government through the American Film Institute (AFI), and from private philanthropies and arts institutions such as the Rockefeller Foundation (RF) and the Museum of Modern Art (MoMA). These measures appeared at a moment when the theatrical film industry was reorganising its industrial model and its main trade organisation, the Motion Picture Association of America (MPAA), was revising its moral standards. Only recently scholars have started historiographical research on experimental cinema's connection with arts and academic infrastructures, yet they have not paid similar attention to the FI's support for experimental and independent cinema production. Thus, they have failed to explain experimental and independent cinema's complex relationship with both the theatrical film industry and philanthropic enterprises during that period. In this project I address these connections through archival research on the FI's experimental and independent film production fund, the Independent Filmmaker Program (IFP), relating this measure to other distribution and exhibition policies. I locate the origins of these policies in pre-WWII federal government's and RF's film education and propaganda programmes. Then I further contextualise the measures within the wider international state of the film industry between 1945 and 1974. Thus I argue that the policies advanced in the 1960s engaged with some of the demands of experimental and independent filmmakers and critics for freer personal expression and more flexible modes of film production. At the same time, these policies contributed to expand non-theatrical film production and update film education in line with the interests of the main theatrical film industry. This study contributes to understand a key moment in American film history considering both the relationship between the U.S. federal government, private philanthropies and the MPAA, and between institutions and filmmakers.
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Vale, Sam. "Collecting rooms : objects, identities and domestic spaces". Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7782/.
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This practice-based enquiry into United Kingdom based collecting rooms reveals five participants’ motivations, frustrations and satisfactions manifested in the creation of their spaces. Through the examination of theorists and commentators in the distinct but related fields of cultural theory, sociology and art, the thesis proposes that a collector’s past can be witnessed through memories generated by and within the space. The thesis also advances the idea that part of the experience of the space takes place in the present but simultaneously imagines the future. I have constructed spatial portraits using semi-structured interviews, photography and video, which explore the environment of each collector thus gaining insights into individual circumstances and personal situations. Narrative within this enquiry takes three intersecting forms: firstly the account of the construction of each collecting room, which divests objects of their historical origins, replacing these with personal associations or meanings devised by each collector. Secondly, each participants’ re-telling of their narratives and thirdly through the re-presentation of the collectors’ narratives to an audience. The latter brings my agency as an artist into focus. Uniting all three narrative forms, the creative practice intends to produce a metanarrative of each collecting room that further investigates the temporality of the space through the combined use of still photography, video and sound. Constructed from a symbiotic relationship between theory and practice, the research uses a methodology that combines Sensory Ethnography with Interpretive Phenomenological Analysis. This methodology explores the idiosyncrasies of each collector, engendering an extensive investigation of the individual collecting spaces. This detailed approach formed and eventually determined the number of participants, resulting in the production of a developmental case study and four original re-presentations that respond to ideas and debates on collecting, material culture and domestic space. These artworks that have been informed by combining existing research methods and constitute my contribution to new knowledge, disclosing ideas and observations which combine narrative and experience not necessarily discernable from theoretical arguments alone.
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Proulx, Janelle. "Necessary Movements". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3382.
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This thesis follows the trajectory of my artistic practice over the past two years which has led me to the creation of the installation REVERB. While incorporating performance, installation, and video into my modes of creation, I’ve likewise expanded my conceptual research regarding the influential capabilities of touch, gesture, and environment. By focusing on the relationship of REVERB to a broader discussion regarding these themes, I hope to situate the work among its art, cultural, and scientific referents.